Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 68 teost John Smibert meie kataloogis
Lühidalt
View of Boston (1738) on John Smibert maalide kõige rohkem tähelepanu pälva teos. Pärast seda suunatakse pilk Portrait of a Man (1720) ja Benjamin Moreland, High Master of St. Paul's School (1724) suunas. Meie kataloogis olevatest John Smibert 68 teosest on need 68 kõige kuulsumat, millist igaüks on esitatud koos aasta, muuseumi ja põhjusega, miks teos on püsiv.
The water of the Boston harbor stretches out in a pale, steady light. Small boats dot the surface, some drifting near the shoreline while others find their place further out in the bay. Figures move upon these vessels, tiny silhouettes of life amidst the salt and tide. Along the grassy edge of the coast, a group of sheep grazes in silence. The scene holds a quiet balance between the industry…
The sitter occupies a central position within a heavy, upholstered chair, a placement that asserts his social standing and authority. A draped curtain hangs behind him, creating a sense of depth and private seclusion. The composition relies on geometric stability, where the rectangular lines of an open book and the structured frame of the chair mirror the precise contours of the man's face. This formal arrangement reflects the early eighteenth-century…
In this 1724 portrait, we encounter Benjamin Moreland, the High Master of St. Paul's School, presented with a quiet, commanding dignity. He is seated in an ornate wooden armchair, his form draped in heavy, reddish-brown silk robes that catch the light with a subtle, satin-like sheen. The weight of the fabric is palpable, suggesting both the physical comfort and the social gravity of his position. He sits slightly off-center, a…
The portrait of Mrs. James Pitts by Johann Harper emerges through layers of oil on canvas, capturing a presence that feels immediate and tangible. The medium allows for a delicate handling of light across the subject's features, where the pigment settles into the weave to create a sense of soft, living skin. Every brushstroke contributes to the weight of her attire, suggesting the heavy drape of fabric through subtle shifts…
In the quietude of John Smibert’s 1726 masterpiece, George Berkeley, we encounter more than just a formal portrait; we are invited into the very sanctuary of a profound mind. The painting presents the future Bishop of Cloyne in a moment of deep, introspective repose. Seated with his hand delicately pressed against his chin, Berkeley’s posture serves as a visual metaphor for the contemplative weight of his philosophical inquiries. There is…
The composition organizes a multi-generational group within a formal interior. This formal family grouping is arranged in a balanced configuration of standing and seated figures, including men, women, and children. The physical proximity of these family members creates a sense of togetherness throughout the scene. The subjects are positioned in a structured manner that emphasizes their social presence and familial connection.
A heavy brown waistcoat anchors the frame, its fabric absorbing the light in deep, earthy shadows. Above the collar, a white cravat cuts a sharp, bright line through the darkness, a stark verticality against the muted tones of the subject's attire. The man’s face emerges from a dark, indeterminate background, caught in a soft chiaroscuro that defines the ridge of a nose and the curve of a cheek. His wig,…
A Member of the Livingston Family by Johann Harper is a formal 18th-century oil portrait of a man, executed about 1740. The composition is a half-length portrait presented within an oval vignette. The subject is a middle-aged man positioned slightly off-center in the frame. He maintains a calm, direct gaze toward the viewer. He wears a powdered white wig characterized by tight curls that frame his face. A white cravat…
Mrs. Nathaniel Cunningham, painted by Johann Harper in 1730, presents a formal portrait of Ann Boucher. The subject is depicted in a three-quarter length pose, capturing her social standing through the specific textures of her attire and her poised demeanor. This oil on canvas work provides a detailed study of 18th-century fashion and character.
In this 1726 portrait, Johann Harper captures the presence of Sir John Rushout, Bt., a man whose life is defined by duty and political influence. The subject, Sir John Rushout, 4th Baronet, gazes out from the canvas with a quiet, steady dignity. He carries the weight of a significant public life, having served as a British army officer and a Whig politician. His steady gaze suggests the composure required of…
Rev. Joseph Sewall1730 · Yale University Art Gallery
12
Nathaniel Byfield1730 · Metropolitan Museum of Art
13
Mrs. Edward Nightingale1727 · Dallas Museum of Art
14
Cardinal Guido Bentivoglio (after Anthony Van Dyke)1719 · Fogg Art Museum
15
Edward Nightingale1723 · Dallas Museum of Art
16
The Bermuda Group1730 · National Gallery of Ireland
17
Portrait of a Man in a Dressing Gown1730 · Slovaki Riiklik Kunstigaleri
18
Edward Winslow (1699-1753)1730 · Yale University Art Gallery
19
Mrs. William Dudley (Elizabeth Davenport)1729 · Museum of Fine Arts
20
William Dudley1729 · Museum of Fine Arts
21
Judge Samuel Sewall1729 · Museum of Fine Arts
22
Mrs. Tyng1729 · Museum of Fine Arts
23
Mrs. James MacSparran (Hannah Gardiner)1732 · Museum of Fine Arts
24
Portrait of John Cotton (1693-1757) Minister of the Newton (Mass) Church; PORTRAIT OF JOHN COTTON (1693-1757), MINISTER OF THE NEWTON, MASSACHUSETTS CHURCH1735 · Gilcrease Museum
25
Portrait of a Woman (Judith Colman Bulfinch?)1734 · Cleveland Museum of Art
26
Portrait of Samuel Pemberton1734 · Museum of Fine Arts
27
Portrait of Mary Pemberton (1717–1763)1734 · Museum of Fine Arts
28
Judge Charles Chambers1743 · Museum of Fine Arts
29
John Turner1737 · Museum of Fine Arts
30
Judge Edmund Quincy1737 · Museum of Fine Arts
31
Herkules and Omphales1738 · Nationalmuseum
32
Benjamin Colman1740 · New Britain Museum of American Art
33
Portrait of the Clark Children1746 · Rhode Island School of Design Museum of Art
34
The Bermuda Group (Dean Berkeley and His Entourage)1750 · Yale University Art Gallery
35
Okänd kvinnaNationalmuseum
36
Richard Bill1733 · Art Institute of Chicago
37
Francis Brinley1729 · Metropolitan Museum of Art
38
Mrs. Francis Brinley and Son Francis1729 · Metropolitan Museum of Art
39
Portrait of Sir Francis Grant, Lord Cullen, and His Family1751 · SCAD Museum of Art
40
John Nelson1732 · Fine Arts Museums of San Francisco
41
Hannah Pemberton1734 · Metropolitan Museum of Art
42
Sir Francis Grand and His Family1718
43
Unidentified Man1720
44
Sir John St. Aubyn1724
45
Colonel James Otaway1724
46
Daniel, Peter, and Andrew Oliver1732 · Museum of Fine Arts
47
Mrs. John Ervin (Abigail Phillipsa)1733
48
Major Jean Paul Mascarene1729 · Los Angeles County Museum of Art
49
The Continence of Scipio (after Nicholas Poussin)1726
50
Sir Archibald and Lady Grant1727
51
Jane Clark1732
52
Samuel Browne1734
53
William Browne1734
54
James Bowdoin II1736
55
Mrs. John Pitts1735 · Detroit Institute of Arts
56
Lady in Blue1735 · Georgia Museum of Art
57
Sir William Pepperrell1746 · Peabody Essex Museum
58
Frederick William I, King of Prussia, Elector of BrandenburgNationalmuseum
59
Parting of Hector and AndromacheMuseum of Fine Arts
60
Self-portraitNationalmuseum
61
Portrait of a gentleman
62
Colonel George Douglas, Later 12th Earl of MortonScottish National Gallery
63
Thomas hill (formerly harwood)Attingham Park
64
Allan ramsay
65
Portrait of mary dudley wainwright atkins
66
Portrait of elizabeth kettle
67
Lady Christian Dalrymple, Wife of Sir James Dalrymple, Bt, Daughter of Thomas, 6th Earl of Haddington
68
Portrait of an Unknown ManFitzwilliam Museum
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | John Smibert teosid | Selle nimekirja maalid |
|---|---|---|---|
 Museum of Fine Arts |
Boston | 10 | Mrs. William Dudley (Elizabeth Davenport), William Dudley, Judge Samuel Sewall |
 Metropolitan Museum of Art |
New York | 5 | Portrait of a Man, Nathaniel Byfield, Francis Brinley |
 Nationalmuseum |
Stockholm | 4 | Herkules and Omphales, Okänd kvinna, Frederick William I, King of Prussia, Elector of Brandenburg |
 Yale Center for British Art |
New Haven | 2 | Benjamin Moreland, High Master of St. Paul's School, Sir John Rushout, Bt. |
 Detroit Institute of Arts |
Detroit | 2 | Mrs. James Pitts, Mrs. John Pitts |
 Art Institute of Chicago |
Chicago | 2 | Captain John Garish, Richard Bill |
 Dallas Museum of Art |
Dallas | 2 | Mrs. Edward Nightingale, Edward Nightingale |
 Yale University Art Gallery |
New Haven | 2 | Edward Winslow (1699-1753), The Bermuda Group (Dean Berkeley and His Entourage) |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
This oil on canvas, titled Cardinal Guido Bentivoglio (after Anthony Van Dyke), represents a significant work by the Swedish painter Johann Harper. Created about 1719, the portrait captures a moment of quiet authority through the depiction of the high-ranking religious figure. Harper, who was born in Stockholm, brought a refined sensibility to this composition, working from a composition originally established by Van Dyke.
The sitter occupies a central position within a heavy, upholstered chair, a placement that asserts his social standing and authority. A draped curtain hangs behind him, creating a sense of depth and private seclusion. The composition relies on geometric stability, where the rectangular lines of an open book and the structured frame of the chair mirror the precise contours of the man's face. This formal arrangement reflects the early eighteenth-century…
The water of the Boston harbor stretches out in a pale, steady light. Small boats dot the surface, some drifting near the shoreline while others find their place further out in the bay. Figures move upon these vessels, tiny silhouettes of life amidst the salt and tide. Along the grassy edge of the coast, a group of sheep grazes in silence. The scene holds a quiet balance between the industry…
A Member of the Livingston Family by Johann Harper is a formal 18th-century oil portrait of a man, executed about 1740. The composition is a half-length portrait presented within an oval vignette. The subject is a middle-aged man positioned slightly off-center in the frame. He maintains a calm, direct gaze toward the viewer. He wears a powdered white wig characterized by tight curls that frame his face. A white cravat…
View of Boston (1738). Järgnevad Portrait of a Man (1720) ja Benjamin Moreland, High Master of St. Paul's School (1724).
50 aastat vanus: teos View of Boston on pärinev aastast 1738 ning John Smibert sündis aastal 1688.
View of Boston, Portrait of a Man, Benjamin Moreland, High Master of St. Paul's School, Mrs. James Pitts, George Berkeley, Sir Francis Grant, Lord Cullen, 1658 - 1726. Judge, Captain John Garish, A Member of the Livingston Family, Mrs. Nathaniel Cunningham ja Sir John Rushout, Bt.. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 68 teost kunstnikult John Smibert, mis on pärinevad ajastust 1718 kuni 1746.
Peamiselt Museum of Fine Arts (Boston), Metropolitan Museum of Art (New York) ja Nationalmuseum (Stockholm) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1730s: 28 68 sellel lehel olevat teost on sellel perioodil loodud, მათart közül View of Boston.
Sellel lehel on kõige vanem teos Sir Francis Grand and His Family (1718) ja kõige värskeim Portrait of the Clark Children (1746).
Man (27), Wig (17) ja Woman (14), kogu selle lehekülje 68 teose kohta.
Oil On Canvas, 37 teoseks 68 töödelt sellel lehel.
Baroque, seda lähtudes selle lehe originaalteostest.
Mrs. William Dudley (Elizabeth Davenport), William Dudley ja Judge Samuel Sewall: Museum of Fine Arts, Boston säilitab 10 selle lehel olevat teost.
John Smibert seisab Ameerika kunstiajal monumentaalsena figuurina, olles tunnustatud esimese akadeemiliselt haritud kunstnikuna, kes tõi oma täiuslikud oskused Kahte Teist Koloniat Edinburghis sündinud mehe teekond Škoti õpilasest Uue Maailma kuulsaks portretist on sügav kunstiline migratsioon. Tema varajased aastad said vormitud käsitööpraktikaga, olles õpilasena maja- ja plaastritaja juures enne Londoni siirtumist. Just Londoni vibratilises kunstilises õhus hakkas Smibert oma visiooni tõeliselt lihvimisema, töötades vankrite värvija ja koopiaartistina ning õppides lõpuks lugupidava Sir Godfrey Knelleri juures Great Queen Street Akadeemias. See ranget akadeemiline alus pakkus talle tehnilist täiuslikkust, mis määrkas hiljem tema karjääri.
Tema reisid läbi Euroopa rikastasid veelgi tema esteetilist tajekuid. Aastatel 1719 kuni 1722 rändas Smibert Itaaliasse, kus ta süvenes Vana Maali meistrite uuringutesse. Koopideides Toskani suurhärra kollektsioonis õppis ta omaks valo, varju ja klassikalise kompositsiooni nüanssid. See intensiivse jälgimise periood võimaldas tal arendada stiili, mida iseloomustas detailide täpne täpsus ja chiaroscuro meistraline käitlemine, luues portreteid, millel oli nii füüsiline täpsus kui ka sügav psühholoogiline resonanss.
Smiberti elu suund muutus irrevocabiliselt, kui piisk Berkeley kutsus teda Ameerika maale kaasnebema. Kuigi ambioosne plaan Bermuda saarel kolledži asutamiseks ei tulnud teost, viis liikumine Smiberti Bostonis asuniksemise, kus ta jättis oma hoiandamatu jälje koloniaalse maastiku ajaloole. Selles uues keskkonnas sai ta kasvava Ameerika kunstiscene nurgakiviks, luues portreetraditsiooni, mis mõjutas põlvkondade kaupa kunstnereid, sealhulgas tema poega Nathaniel Smibertit.
Smiberti töödes Bostonis oli märkimistav võime vangistada oma subjekti lugusust ja sotsiaalilist staatust. Tema portreid, nagu Rev. Joseph Sewall ja Richard Bill, on rohkem kui lihtsalt sarnikud; need on hoolikalt üles ehitatud iseloomu ja staatuse uuringud. Nendes teostes saab esile tooda:
Üna tema mõjuvimmatest saavutustest on Dean George Berkeley and His Entourage, tuntud ka nimega The Bermuda Group. See maal serves kui elutähtis ajalooline dokument, püütes kinni koloniaalse ambitsiooni konkreetse hetke ja Atlanti maailma seosest. Smiberti pintli läbi ei måldanud ta vaid näoguid; ta vangistas ühe ajastu olemuse, sillutades tee Euroopa akadeemilise traditsiooni ja Ameerika koloniaalidentiteedi kogemuse vahel.
